A Bruckner Odyssey: The Ninth Symphony Sir Simon Rattle talks about the four movement version © Aart van der Wal, June 2012 Last month EMI Classics released their CD with Bruckner's Ninth Symphony in the four movement version, a live recording by the Berlin Philharmonic Orchestra conducted by Sir Simon Rattle. Early June, Simon Rattle was here, in Rotterdam, on a European tour with the Orchestra of the Age of Enlightenment and French pianist Pierre-Laurent Aimard. He conducted a programme with music by exclusively French impressionists (Fauré, Ravel and Debussy). Very early in the morning, on the day after the concert I met him in his hotel to talk about his Bruckner recording. (Click also here: Anton Bruckner: Symphony No 9 EMI Classics 9 52969 2 (CD) in D minor WAB 109 - The unfinished Finale) (Also available in SACD format) Live-recording, 7th-9th February 2012, Philharmonie, Berlin Obsession "The first thing I noticed when studying this Bruckner Ninth finale were those strange transition passages you can find in any typical Bruckner finale. But here, in the Ninth, I strongly felt as if Bruckner was obsessed with the last things in life, or maybe even the very last thing he could possibly hold onto this. As if he was thinking that when he could hold onto this, work on this, he could find his way out of this obsession. There is absolutely no doubt in my mind that Bruckner was going through an existential crisis within himself. However, there is also no doubt that he was dealing with a compositional crisis, as many composers do, also composers who are writing finales for their symphonies. Look at Brahms, how much he struggled with writing the finale for his First Symphony, as the different versions that exist tell us." Extraordinary vista "All these great transition passages in Bruckner's symphonies lead to some extraordinary vista, some wonderful moment which leads you out of this world. When hearing this finale for the very first time it almost instantly became clear to me, even without a score, that the music that is there, which is a lot, was far more interesting than I had thought or people had said; but also that it was a really tough nut to crack. I could not yet put the various pieces firmly together, but I could grasp that each and every one of them was absolutely magnificent. Over the years, I had heard a couple of other completions, but they were badly put together and even dreadfully played, doing no service, no justice to Bruckner’s masterpiece at all." A continuous manuscript: Mahler's Tenth "Doing justice to the composer is something which Deryck Cooke did when he worked on the performing version of Mahler's Tenth, which is as good as anything that Mahler wrote. In the sense that Mahler lacked the opportunity to perfect it. But all is there for you to play. The first time I heard that there was something like a Mahler Tenth, I was eleven years old, and living in Liverpool. I was twenty-four when I made my first recording of the work with the Bournemouth Symphony. Sure, I did not grow up with the romantic idea that there was only that Adagio and this little Purgatorio, but at that time a performing version of the Tenth was still haphazard. Imagine, still today only the Adagio is often played, although happily there is a generation who will want to listen to the whole work, and take it on its merits." "I’m aware that most ‘typical’ Bruckner conductors did not and still do not want to touch the Finale of the Ninth, for whatever good or bad reason, but I think I have one advantage, which is that I have spent so much time in my life dealing with Mahler’s Tenth. I didn’t only know Deryck Cooke, but all the people who got involved in this ‘reconstruction’ work later on. All strongly driven characters like Colin Matthews and Berthold Goldschmidt, who became very much a part of our family. This is also how I met Kurt Sanderling, who – like Goldschmidt – was thrown out of the Vienna opera house by Karl Böhm. I could closely watch the whole progression of the Mahler Tenth; and, of course, I heard everybody’s prejudice. Even from those who had not even seen the score or heard the piece. Basically, it was simply the inability of those opposing to accept that what was there might be different from their own pre-conception. Whereas we knew every bar which had been written down by Mahler. We understood what it really was: a continuous manuscript, not less and not more. Of course, Mahler would have refined it in countless ways, if he had lived long enough. What is there is not perfect, but it has such a truth that it trumps all other considerations." Catch up "Years ago I was talking to Nikolaus Harnoncourt about Bruckner’s Ninth Finale. Whenever I meet him he is always incredibly excited about the next thing he is doing. I don’t have to tell you how persuasive he usually is! One of the first things he said to me was that we had a great performing history of the first three movements, a history we all take part in, but none of the last movement. That we had to catch up with this Finale, this tabula rasa, knowing so well the gravity and density of those first three movements. This was also something the orchestra very well understood when we discussed the work: we all have to catch up with this and find the one and only way to play the Finale in the same, convincing way as the other movements. At that time, Nikolaus was more in line with the idea that his performance of the Finale should only entail Bruckner’s and no one else’s notes. That is typically Nikolaus and that is why we all love him. But I agree with you as far as his 'workshop' model* for the Finale is concerned: with so many blank spaces the structure gets lost. However, what he did was opening the debate and give people a chance to hear what is really there. Also remember what he said to each and everyone: go and look in your attics, because a lot of these missing pages must be somewhere. Actually, since then, there have been one or two more discoveries; and I am sure there still will be. There might even be a Stieg Larsson out there writing a big mystery novel about where the rest of the symphony is!" Vintage Bruckner "Nikolaus encouraged me to look at the sketches again. Long after that there was that great performance at the Salzburg Festival in 2002, where he conducted the Vienna Philharmonic*. Later, in November 2007, Daniel Harding conducted the four movement version in Stockholm, with the Swedish Radio Symphony Orchestra. I got the complete score of it, the so-called S(amale) M(azucca) P(hillips) C(ohrs) edition, prepared by those four Bruckner scholars: Nicola Samale, Giuseppe Mazzuca, John Phillips and Ben Cohrs. I got in touch with Ben in Bremen." "It took a while really to study the work. It is one of those pieces which keep their mysteries, irrespective of how much time you spend with them. How many years did it take me to get anywhere near Beethoven’s Grosse Fuge, or Bruckner’s Fifth! And now that Ninth Finale, which I had to unravel. To me it was a new Bruckner symphony I had my hands on. It took some months before I could tell the Berlin Philharmonic about it, with enormous respect for what these four scholars had put together. When I had worked it all through I was convinced that this is what we should do, what was really important: to go for it, to play the four movement version of Bruckner’s Ninth. Period." "With this Finale you can still tell that in some ways it is a sketch, but there is so much of vintage Bruckner in it. What this team has accomplished is to create a frame that makes it playable and understandable. Of course, this cannot be exactly what Bruckner finally would have offered to the world, but we now have the possibility of performing and hearing the symphony as a really complete work. Which also means rehearing those extraordinary previous three movements through the prism of that Finale. It has definitely changed my perception if not the conception of the whole work, as I look at it now from a very different perspective. I so much hope that the full version will be frequently performed, but I equally hope that if not, conductors and orchestras will closely study the Finale, to imagine what it is, because it places such a weight on the preceding movements. The Adagio is not a “Leb’ wohl”, as in ‘Das Lied von der Erde’. It is not! It is as extraordinary as the Adagio of the Eight Symphony: it is a part of a journey." "Even in a work by a genius you notice conventions, in the sense of familiar lines, harmonic colouring, specific transitions, rhythmic progression, dynamic sequences, and an unambiguous way of orchestral thinking. Also - and it may be a paradox - even if they are not, like in this Ninth Finale." "The great master stroke of this finale version is the great chorale, which Bruckner always uses. And there is only one chorale in there, as there is in the Adagio.